*PUBLIC 44: Experimental Media*
*available now*
www.publicjournal.ca
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Edited by *Peggy Gale*, this new issue of PUBLIC* *considers the landscape
of experimental media today, a broad field with an open horizon. Her
collection of texts and projects offers dialogue and intervention, a
response to the International Experimental Media Congress in Toronto of
April 2010.
In “Cultural Engineering 1982-2010” *Tom Sherman* challenges the
institutionalizing and mythologizing of experimental media through economic
support and academic research. *Konrad Becker* uses slogan, picture and
text from his *Strategic Reality Dictionary* to reveal power mechanisms and
newspeak from the past half-century. The irreplaceable nature of individual
media is a recurring theme, as *Michael Snow* and *Nicky Hamlyn* consider
works created *necessarily* in a chosen medium. *Christopher
Eamon*considers media installations new prominence in the museum.
Teacher and
curator *Peter Ride* investigates the place of the viewer and systems to
evaluate audience response.
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*Christina Battle* builds a skyline of stacked words—gesture and
judgment—where *film *and *video* are joined by computer, digital, image,
internet, installation, media, new-media, performance, recording, signal
tape, transmission and technology. What is left *unsaid*? *Elle
Flanders*writes a film script for
*Yvonne Rainer *and *John Greyson* with dance, sexuality, history and the
body. Rainer herself appears on DVD included with the issue, an
elaborated-lecture on performer and audience at Tramway in Glasgow. In
“Notes on Attention, Projection, Foreplay and the Second Encounter” *Mike
Hoolboom* riffs on movies and audiences, distractions and certainties.
*Jean Gagnon* addresses archiving for audiovisual and media-based works.
More consciously political, *Shai Heredia* discusses film histories at
Experimenta in Mumbai and Bangalore. *David Teh* shows how street actions
and public festival in Southeast Asia make an accessible
performance-archive today. *Steven Loft* notes First Nations’ use of new
media arts for self-definition and exploration, ideally compatible with
oral tradition and exchange in Aboriginal identity. *Dont Rhine*, with
members of *Ultra-red*, reflect on “the space of listening," where sound
has its own politics for presentation and exchange. *Vera Frenkel* returns
us to the archive, with her own history of research and performance,
narrative and technological invention.
*Artists’ Portfolios*: *Christine Davis, David Rokeby, Michael Snow, Shai
Heredia* and *Shumona Goel*.
Reviews of exhibitions and books, and a column by *Ian Balfour*—“Chris
Marker’s Only Music Video (Almost, Still)”—complete the issue.
192 pages + DVD, partial colour
35-page sneak peek<http://issuu.com/publicjournal/docs/public44>
To order or subscribe to PUBLIC, or for a partial list of stockists, visit
www.publicjournal.ca. Subscribe by May 15th 2012 for your chance to win a
$200 gift certificate on books from Art Metropole.<http://www.artmetropole.com/>
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*If you are in the Toronto area, please join us for the LAUNCH!
*
Monday 16 January 2012, 6-9 PM
Gladstone Hotel Ballroom, 1214 Queen Street West, Toronto
@ Early Monthly Segments #35, featuring a screening of* Print
Generation**by J.J. Murphy,
* 6:30 PM
Event Page<https://www.facebook.com/events/142800269166601/>
"Once the images are brought up to full colour, *Print Generation* heads
back toward abstraction. The viewer, having built a picture from an
abstract pattern of dots, now must literally choose what is seen, whether
to hold memory's trace of the representation or swim into the dancing
crystalline waters of emulsion." –Anthony Bannon, *Buffalo Evening News*
* *
*Print Generation** *(1974, 16mm, 50 minutes) by J.J. Murphy is a rarely
screened structural gem that harnesses image and sound deterioration to its
fullest. Murphy started with sixty-one second shots, a one-minute film. He
then made fifty contact printed copies from each successive version,
consciously degrading the film one "generation" at a time. *Print Generation
* is structured so we begin watching obscured images and work toward the
original and back again...while the soundtrack of lapping ocean waves does
the opposite. Archival print courtesy the Academy Film Archive. Special
thanks to Mark Toscano, May Haduong and Canyon Cinema.
*ABOUT*
*PUBLIC* is a bi-annual interdisciplinary art journal based in Toronto
founded in 1988 by the Public Access
Collective<http://www.publicjournal.ca/about/editorial-collective-members/>.
It is committed to existing as an intellectual and creative forum,
providing a space for in depth perspectives on the theoretical and critical
issues that intersect with art and visual culture.
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*Early Monthly Segments* is a monthly film series named after an early film
by Robert Beavers, and is inspired by the immediacy, vibrancy and
experimentation found in that film. This series features historical and
contemporary avant-garde 16mm films in a salon-like setting.
www.earlymonthlysegments.org
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PUBLIC gratefully acknowledges the support of the Canada Council for the
Arts, the Ontario Arts Council, and York University.
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*
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Aleksandra Kaminska
Managing Editor, PUBLIC
York University
Toronto, Canada
publicjournal.ca<http://www.publicjournal.ca/> |
facebook.com/publicjournal<http://www.facebook.com/publicjournal>|
(public /at/ yorku.ca)**
